N O P A R T O F I T

Far more important than baking bread is the urge to take dough -beating to the extreme - Otto Muehl

Thursday, June 13, 2019

Interview Series #4: Blake DeGraw

Scheduled on February 17, 2019

Blake DeGraw heads a collective called Fhtagn, where he usually provides contributors with a file to play along with as cues, with various different directives in mind. I think I have taken part in Fhtagn around a dozen times now. The first time I performed with his group, was in the middle of an empty parking lot behind a warehouse with ten violin players. Most recently, there was a piece for 12 guitars, loosely inspired by the short lives of cicadas. Prior to that, performers would try to read aloud tongue twister limericks, and if they failed to read its variations, they were instructed to scream vulgarities. Other times people sang choir to ascending and descending sine waves. Another one of his projects, Plancklength, did a sound installation which involved at least six large swinging metal tubes which operated on an axis, as they related to speakers and mics strategically placed. The idea was to have an integrated feedback instrument within the space, but I think the venue restricted volume levels early on. Still, many of those attending were plugging their ears for much of the time. Blake and I have done a split cassette and recorded a significant amount of material at Cornish College, where he is a student.

1. What types of things have you been getting into lately?

1. Russian video games, big time. Pathologic HD, 35mm, The Underground Man, The Void. Those fuckers make a mean game. Pathologic might be the single greatest piece of art I've ever consumed. Oh, and I've been getting really into this opera called The Devils of Loudun by Krzysztof Penderecki.

2. What you do, do you do it as an artist, or is it a hobby?

2. As an artist. I get no actual joy out of it.

3. How would you describe what you do?

3.
I write music for large groups of musicians, then I assemble large
groups of musicians to perform them, usually unrehearsed. I also dabble
in sound-art installations and piano music.

4. How would you describe your creative progression over the years, in a brief synopsis?

4. I was really into rock music. Then I lost interest in rhythm and tonality.

5. How would you describe your philosophy?

5. Our brains are in control and "we"' are just along for the ride.

6. Do you believe in psychics, magic, ghosts, or gods? If no, then
maybe you'll share your favorite conspiracy theory (whether you believe
it or not).

6.
Psychics: no, but that'd be neat. Magic: sure, in the sense that I
don't know how anything works anyway. Ghosts: no (double no if they're
wearing clothes). Gods: no.

7. What would you say was your most definitive experience?

7. I was raised by
devout creationists. One day I was in an Indian restaurant with my
at-the-time wife (also a devout creationist) and was looking across the
room at an elderly couple in a booth. It suddenly occurred to me that
we're all apes. I broke out into a cold sweat, looked at my wife and
wondered what I had done.

8. Do you have any side projects that I am not aware of? If not, what is something you'd like people to know about you, that you don't think anyone would ever ask?

8. I'm slowly
learning how to develop video games so I can make an adaptation of a
Shane Carruth screenplay called "A Topiary". Maybe in like ten years.

9. Would you care to name any theoretical "desert island" records, or at least releases that you think are approaching your concept of "perfect"?

9. I don't dabble so much in records, but I'd say just about any recording of Charles Ives' 4th Symphony, or Pithoprakta by Iannis Xenakis.

10. What is the earliest childhood memory you can (or are willing to) recall?

10.
Some moustached dude somewhere in the south (I think Arkansas or
Louisiana) asking me if I like Mickey Mouse. I think I was two.

11. Are you able to appreciate other peoples' creative work regardless
of their personal shortcomings or inherent flaws? To what extent?

11.
As much as it pains me, yes, to the extent of...time, I guess? I mean, I
tried watching the movie L.A. Confidential the other week, and I had
forgotten Kevin Spacey is in it, and I felt gross watching him so I
turned it off. But on the other hand, I listen to Carlo Gesualdo's music
without batting an eye. So what's up with that?

12. Do you have any heroes or heroines? Who are they? Feel free to add anything that makes them stand out.

12.
George Ives (Charles Ives' father). The guy's family owned like half of
the town he lived in. Like, dynastic. But he just worked menial jobs
and spent his time putting on really crazy experimental concerts (this
is the 19th century, mind you). Died poor and young. Most of Charles
Ives' best works were just attempts to re-create his father.

13. What would you like to have on your epitaph? Or what is your favorite quote?

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NO PART OF IT logo courtesy of Christopher ILTH

NOPE

NO PART OF IT is a "private label" of sorts, headed by Arvo Zylo in secret.

It was kicked off in 2008 with a locked groove 7 inch compilation called "Trunculence" featuring Nurse with Wound, Dave Phillips, Crash Worship, To Live and Shave in L.A., Anakrid, SIXES, and more. 55 artists in total. The initial aim of the label is to release products of active imagination, rather than attention-starved gimmicks, and generally focuses on the work of conceptually isolated, visionary individuals.

About Me

BIO

SHORT:

Active since 2000. Experimental sound structures wavering around industrial noise territory, often characterized by excessive layering of similar direct sources/samples, or constant integration of a YAMAHA RM1X Sequencer.

Recent work has been more performative and based on mic'ed objects, including group ensembles, primal / conceptual vocal work, and soundtrack-oriented premises.

LONG:

Arvo Zylo has been making experimental music that wavers around but is undeniably anchored in the vein of industrial noise, since the year 2000. He works under his own name as well as under the collaborative umbrella moniker "Blood Rhythms".

Zylo started out having no previous knowledge about experimental music, with a primitive sequencer, where he'd destroy presets and cause malfunctions as a primary source of compositional inspiration. His work has evolved to fetishize extreme layering, repetition, raw material action, feedback, human/animal/onomatopoeia sounds, and naturally abrasive elements without the use of effects pedals.

Arvo Zylo has toured the midwest numerous times, as well as being featured at Denver Noise Fest four times, Dead Audio Fest in Houston (2010), St. Louis Fest (2010), Heavy Focus (Minneapolis, 2010), St. Petersburg Noise Fest 2013, Indiana Noise Fest 2013 and 2014. Radio stations he's been interviewed or featured on include WFMU (New Jersey), WZRD (Chicago), WCSB (Cleveland), and WKCR (New York).

In terms of recorded output, both under his own name and under the Blood Rhythms project, he has done split releases with GX Jupitter-Larsen, Le Scrambled Debutante, TOMB, and Death Factory. Some releases have been produced by such outfits as Locrian's private label Land of Decay, Banned Productions headed by AMK, Phage Tapes, Spleencoffin, OUT-OF-BODY RECORDS (headed by Rob of Terminator 2 and FILTH), and others. A handful of collaborators that Zylo has been involved with include Daniel Burke (Illusion of Safety), renowned collage artist Christopher Ilth (ex Daily Void), German Dadaists Kommissar Hjuler und Mama Baer, "avant-industrial gospel" band ONO, and industrial noise veteran Christopher Turner (Nookleptia).

Blood Rhythms has featured either live or recorded contributions from Bruce Lamont (Corrections House, Bloodiest, Yakuza), Ben Billington (Tiger Hatchery, Quicksails), Mike Weis (Zelienople), Alejandro Morales (Piss Piss Piss Moan Moan Moan, RUNNING), Clayton Counts (Bull of Heaven, the Beachles), the aforementioned GX Jupitter-Larsen (the Haters), Elizabeth Floersch (Fatale), and members of the entire band ONO, to be short.

Previous group incarnations started off being based around the concept of playing layers of live brass instruments in a drone fashion with as many live players as possible, but it evolved to incorporate junk metal, prepared guitar, tape loops, power tools, and synthesizers.

People have remarked that Zylo's releases are always very different, but his most representative solo release is "333". There are now over 700 copies in existence, and it took 6 years for him to complete it.

Some select quotes about "333":

"...this recording feels like it had to be made, and it transcends its limited equipment resources as if the music couldn't be stopped..."

"....Arvo Zylo's work is often the product of literal years of toil, the potent result of countless hours refining, perfecting, and focusing wild energies. Projects like his "333" and "Assembly" feel more like they've been finished in a metal refinery than a mastering house, their labyrinthine vertical layers chosen and fixed in place with firm force."

"First, I was really focused on the intensely constructed sequenced structure - then, today, I was struck by the more organic components that seem to grow around the more rigid parts. It is an intense listen, for sure. "

Mark Solotroff (Bloodyminded, Anatomy of Habit, Intrinsic Action)

"A technicolor nightmare..." "...A cyber punk thrill ride" "...totally assaulting music without actually relinquishing the conventional rules of what music should be."

Having been active in live venues for experimental music and noise since 2003, Zylo at one time ran or co hosted two separate weekly experimental showcases, aside from several well received one-off events and warehouse parties. He's been writing on the subject of sound art periodically since around 2006, having written for Roctober, Special Interests, Heathen Harvest, WFMU's Beware of the Blog, Chicago's NewCity, and others. Arvo's "Delirious Insomniac Freeform Radio Show", which ran for 7 years on WLUW, has afforded him the rare opportunities to interview Genesis Breyer P-Orridge, J.G. Thirlwell (Foetus), and several other luminous characters of widely varying backgrounds.

"NO PART OF IT" is a label that kicked off in 2008 with a 7 inch compilation (titled "Trunculence") of 100 locked grooves by 55 artists. Some of those artists were Nurse With Wound, Crash Worship, Helios Creed, Black Leather Jesus, Anakrid, dave phillips, and Sudden Infant.

Aside from personal releases, the label has released a CD compilation celebrating the 4th anniversary of Arvo's radio program (active on WLUW 2007-2014), The Delirious Insomniac Freeform Radio Show. Before that, Zylo was a regular clandestine DJ at WZRD between 2004 and 2007, and continues to make irregular appearances there. "Delirious Music For Delirious People" included songs by Controlled Bleeding, Zola Jesus, Pharmakon, Gary Wilson, Haunted George, Big City Orchestra, Rancid Hell Spawn, WOLD, and more within its 23 tracks.

NO PART OF IT went "off-the-grid" for a couple of years, (there are some releases that sold out without any representation on the internet, we are pleased to say) selling only by xerox newsletters and money orders, but is now back on "the digital scene". (Bandcamp)

On September 9th, 2011, Arvo Fingers and WLUW celebrated the 4th Anniversary of the Delirious Insomniac Freeform Radio Show as well as the release of the first volume of "Delirious Music For Delirious People", a compilation featuring Jarboe, Controlled Bleeding, Zola Jesus, Boyd Rice and Friends, Gary Wilson, BeNe GeSSeRiT, Big City Orchestra, Hans Grusel's Krankenkabinet, and others.